The Clifton clarion., 1887-01-12
FINE OLD VIOLINS.
MANY EXQUISITE DESIGNS.
Antonias Stradivarius. and the Ex-
 nmples of Iiis Work Exhibited is London

Of course the "jewel room" of this Albert Gallery loan collection is the Stradivarius case, No. ?. The violins and vioias illustrate his early, mid dle, and late manner. There are in all four violins and two violas. Mir. Tyrell's tenor is finely finished under Nicolas Amati's influence, l690-the rich orange varnish is full of the Italian summer Signor Arditi lends a 1889 Stradivarius violin, a rich red dish glow in the varnish, spots of drag on's blood about livery perfect, also in the masters earlier manner. Mir. Croall's two violins are the gems. The I'll belongs to Stradivarlus's finest period. He was then 61 years old. The varnish is red orange-in places like soft liquid film lying in sunlit water-cvery grain of the wood is shown up in the transparent me- dium. The curves are free, the grace full undulations almost thro5 with life-the corners exquisitely turned and finished. The sound is loud and sweet and bell like; the strings be- gin to whisper eagerly almost before the bow touches them. The instru- ment, like a first-class horse, will not resist any call that is made upon it. It will vibrate to the slightest touch, but it will also peal like the mellow thunder, without a scratch or wheeze. MT. Hills 1732 violin-the master was then SS years old-is less pierc ing. It has a grand, mellow, but more solemn timber about it. It has old did not sign his work after 1730, but this violin is duly signed and an interest ing exception to his rule.
 Mir. Hill lends his superb Strad- ivarius tenor, 1721. Stradivarius tenors are very rare, indeed; there are not above twenty known speci- mems. We must rot forget to men, ton the unique Stradivarius guitar also lent by MT. Hili. It is of per feet wood, light as feather, of exquisite finish. The carving of the Gothic sound hole, like an elaborate rose west-window, is one of those marvels of fancy in which Stradivarius occasionally indulged-many exquis- ite designs and decorative studies were found in his workshop after his death. We cannot dwell upon several other interesting specimens, but per haps little glimpse of the man whose genius focused all the previous re- searches of the Crcmona makers and who raised the art to T Phydian per lection which has never since been reached, may not be out of place.
 Anton:us Stradivarius was born in 1644. He entered the workshops of the Amaii and under the greatest of them, Nicolas, learned his trade, and for 20 yearsclosely copied his master. In l690, after profound study and long experiment, he began toimprove his model, bringing it flatter, the great secret of the true violin as op- posed to the old tubby model which clung to it so long, mainly through the influence of Steiner, and was even revived by Duke, in England. Stradivarius' grand period begins about 100, and lasts to nearly l73O. In l736 the old man made his last fiddle-he was then g years old and he died the next year, but not before he had formed Bergonzi and Peter Guarnerius, and established q model which no maker has since de parted from with impunity.
 We can catch a glimpse of him as he lived at Cremola, in l7S0. Piazza Domenico Polledro, an aged chapel master at Turin, used to describe "!Antonius. the lute-maker," as high, thin, and worn with incessant toll. Tn summer he wore q white cotton nightcap. and a woolen one in winter. He WIS never without his work apron of white leather and always to be seen with tool in his hand. He worked without pause from sunrise to sunset. He never sought any change of occupation. His violins sold for four golden livres apiece, and were thought the best in Italy. He made q prodigious number of violins, lutes. guitars, and violoncellos. Where are they all gone? He was q fine artist, we'll versed in all, espe- cially Gothic forms of decoration, and an exquisite carver in wood. He saved good deal of money. and the proverb passed in Cremona, As rich as Stradivarius.
 His work room may still be seen in what is now the Piazza Roma at Cremona. It is a mei e loft at the top of the house, wide open to the sun and air on two sides, and overlooking the roois and hanging gardens of Cremona. Whenever Stradiyarius looked up from luis work, if he looked north his eye fell on the old tower of St. Marccilino and St. Omobono; if west, the Cathedral with its tall campanile rose dark against the sky-and what sky full of clear sun and pure heat, and tints suggest i've of his own mellow and glossy varnishes, what time the light lay low upon winery and terrace, or sparg'ei with ruddy gold the caves of roofs and frescced walls of houses.
 So lived and wrought and died. at the age of 8, Stradivarius, of Gre mona, and was buried in the Church of <. DomeniCo, in the chapel of "Our Lady," opposite his workshop. in tine year of our Lord l737.-I Rev. II. k. Haweis, in the Pail Mali Gazette.